Othello

Character Analysis

Desdemona

Othello,

Rhetorical Analysis

Act 2, Scene 3 Line 245

The Moor of Venice

Othello’s wife, Desdemona, is his polar opposite in nearly every way. Where Othello is commanding and authoritative, Desdemona is calm and reserved. While Othello is quick to anger and give in to jealousy, Desdemona is compassionate and loyal. Desdemona is also extraordinarily docile, and her submissiveness to Othello becomes increasingly apparent as the play progresses.

At the start of the play, Othello continually praises the “gentle Desdemona” (1.2.25). Others characters also observe gentleness in her, as both Iago and Cassio are confident that her compassion would drive her to help Cassio in his time of need. Unfortunately, this compassion towards Cassio eventually becomes, in Othello’s mind, evidence to support her having an affair. Desdemona retains her gentleness throughout the play, including during Othello’s complete emotional transformation towards her. Even after suffering mortifying physical and verbal abuse, Desdemona does not wish “to offend” (4.1.231) her husband and remains “truly, an obedient lady” (4.1.232). Despite the drastic shift in Othello’s behavior, she continues to remain by his side and tries to look past his offences. For a while, she downplays his anger by blaming it on “something sure of state” (3.4.134). Her loyalty towards Othello prevents her from learning of his suspicions for quite some time. Once she does learn of the allegations against her, she remains compliant to Othello, determined to “not now displease him” (4.3.16). She remains submissive even while facing Othello’s murderous rage. Her unyielding loyalty and devotion to Othello ultimately becomes her downfall.

And what's he then that says I play the villain,

When this advice is free I give, and honest,

Probal to thinking, and indeed the course

To win the Moor again? For 'tis most easy

Th' inclining Desdemona to subdue

In any honest suit; she's framed as fruitful

As the free elements. And then for her

To win the Moor--were't to renounce his baptism,

All seals and symbols of redeemed sin--

His soul is so enfettered to her love,

That she may make, unmake, do what she list,

Even as her appetite shall play the god

With his weak function. How am I then a villain

To counsel Cassio to this parallel course,

Directly to his good? Divinity of hell!

When devils will the blackest sins put on,

They do suggest at first with heavenly shows,

As I do now. For whiles this honest fool

Plies Desdemona to repair his fortune,

And she for him pleads strongly to the Moor,

I'll pour this pestilence into his ear:

That she repeals him for her body's lust;

And by how much she strives to do him good,

She shall undo her credit with the Moor.

So will I turn her virtue into pitch,

And out of her own goodness make the net

That shall enmesh them all.

Tragic Flaw

Jealousy

Soon after interrupting the festivities surrounding Othello's and Desdemona's marriage, Iago devises another step in his plan to exact revenge on Othello. The use of rhetorical questions conveys the free flow of Iago's thoughts and offers the reader insight into Iago's process of scheming. The soliloquy is written in iambic pentameter, which is Iago's default manner of speaking. When speaking with someone whom he considers of much lower standing than himself, Iago tends to speak without meter. The rhythmic speech he uses while alone highlights his extremely high opinion of himself. The imagery of "devils" appearing "heavenly" before they commit their misdeeds underscores the evil of Iago's character. Just as a devil appears heavenly before causing trouble, Iago plans to gain Othello's trust and confidence before he inspires Othello's jealous thoughts. The final image of the "net that shall enmesh them all" summarizes Iago's skills as a masterful manipulator whose schemes will ultimately involve nearly every character in the play.

Symbol

In the play, Othello is a tragic hero because he has to struggle with his own internal problems, which eventually lead to his downfall. Othello has to face his jealous tendencies, which Iago increases through manipulation. Because of the conflict of his jealousy and love, he becomes illogical and has to then deal with the consequences of murdering the woman he loves.

In the beginning of the play, Othello trusts in Desdemona and refuses to "draw / The smallest fear or doubt of her revolt; / For she had eyes, and chose me" (3.3.188-190). However, as the play progresses, Iago manipulates Othello and others to convince him that Desdemona is in an affair with Cassio. Othello becomes enraged at the thought of her with Cassio. His jealousy, brought upon him by Iago’s claims, accentuates the love he has for Desdemona. He was manipulated so easily because of the intensity of his love, and his fear that it may not be reciprocated. In an effort to end his jealousy and preserve his own honor, he murders Desdemona. But, upon discovering the truth, he cannot bear to deal with himself. His flaw eventually overwhelms him and he kills himself, losing the struggle with his jealous rage.

The handkerchief

Image Tracing

The handkerchief in Shakespeare’s Othello facilitates the emotional conflicts aroused throughout the play. Desdemona first received the handkerchief from Othello. “This was her first remembrance from the Moor” (3.3.292) and it serves as a token of Othello’s love for her. This is why Iago convinces his wife to steal it from Desdemona – he knows that it has a lot of sentimental value and that Othello will be angry when he finds out his wife no longer has it.

Iago manipulates the handkerchief so that Othello comes to see it as a symbol of Desdemona’s faith and chastity. When it appears in Cassio's possession, Othello is convinced that Desdemona is unfaithful. The white napkin, as we know, is spotted with red strawberries which Othello tells Desdemona were hand stitched with thread that has been dyed with blood from "maidens' hearts" or, virgins' blood (3.4.10). In this way, the handkerchief resembles a white wedding sheet that's also been stained with a virgin's blood. So, in Othello's mind, as long as Desdemona has the handkerchief in her possession, she is chaste. But, the moment she "loses it," she loses her chastity.

However, the handkerchief’s significance to Iago and Desdemona derives from its importance to Othello himself. The handkerchief was significant to Othello because it once belonged to his mother. “She told her while she kept it / ‘Twould make her amiable and subdue my father / Entirely to her love” (3.4.52-54). Since his mother used it to keep his father faithful to her, Othello uses the handkerchief as a symbol of marital fidelity.

Shakespeare’s use of imagery throughout Othello gives the audience an idea of how the character feels, eliminating the need for detailed descriptions of emotions. Images of animals, a garden, a candle, and more present the emotions of the characters in the play. Iago, to belittle Othello and others, uses imagery often throughout the entire play. The animal imagery in particular is used to emphasize Iago’s high opinion of himself and his low opinion of others.

Iago uses animal imagery to describe and demean Othello because he is different and does not fit in to their society. Iago describes Othello as an “old black ram [who]/ Is tupping your white ewe” (1.1.88) to highlight the importance of Othello’s race, his difference, and his sexual relations with Desdemona. The contrast of black and white also highlights the contrasts between Othello and Desdemona's appearance and personalities.

Structure

Climax

Consumed with jealousy, Othello

murders Desdemona.

Rising Action

Falling Action

Othello realizes his error and commits suicide.

Due to Iago's maniuplations, Othello becomes increasingly jealous of the supposed affair between Cassio and Desdemona.

Foil analysis

Othello & Desdemona v. Iago & Emilia

The couples that exist in Othello are significant in their differing characteristics. Othello and Desdemona have a unique relationship, where they are truly in love with each other. When Desdemona is brought into court to speak for herself over the matter of her marriage, she declares that she freely and lovingly takes Othello for her husband and accepts all the consequences of that act. She finds compensation for his color in the quality of his mind and her “heart’s subdu’d/ Even to the very quality of my lord; / I saw Othello’s visage in his mind,/ And to his honors and his valiant parts / Did I my soul and fortunes consecrate” (1.3.278-282). Othello also proves to love his wife dearly. When Othello speaks his defense in the court, he proves his love for her when she “lov’d me for the dangers I had passed, / And I lov’d her, that she did pity them” (1.3.190-191). Although jealously clouded Othello’s judgment with his motives to kill Desdemona, he proved his true love for her when he killed himself in the end.

However, in the relationship between Emilia and Iago, there certainly is not that strong and equal tie of love which we would expect to find between husband and wife. Iago uses Emilia as his tool; she is cared for only insofar as she is of use to him. Iago has neither the desire nor the ability to love anything or anybody. Emilia, on the other hand, seems to love Iago with a kind of passionate devotion. It appears her sole aim is to do “nothing but to please his fantasy” (3.3.300). This great love, even though its object be unworthy, is a redeeming trait in Emilia's character, which raises her morally far above lago. Indeed, we can look back on Emilia in her girlhood, free from the tarnish, the smut, with which lago has begrimed her. Therefore, the bond between Iago and Emilia is a bond of evil.

The setting of the play is unique in that it does not remain the same for the entire play. In Act 2, the setting of Othello moves from Venice to Cyprus and stays there for the remainder of the play. Venice is a metropolitan area that lends itself well to Act 1, which is focused on the public affairs of the characters. The rest of the play, however, centers on the personal affairs of the characters, which are better explored in an island free from the hustle and bustle of metropolitan life. Since the bulk of the play occurs in one place and the events unfold in a short amount of time, Shakespeare's writing coincides with Aristotle's appreciation of a single time and place.

Usually, in a tragedy, the hero remains in control until the turning point of the play. However, Othello begins to lose control of himself from nearly the beginning of the play due to the interference of Iago. Othello’s personal story is a downward slope from the very beginning, rather than an increase in happiness and a sudden reversal of fortune.